Svetlana Sozdateleva

Soprano

Biography highlights

CURRENT SEASON

Fata Morgana in Love for three Oranges at the Komische Oper Berlin, Renata in The Fiery Angel for Deutsche Oper am Rhein Düsseldorf, Brünnhilde in Die Walküre with London Philharmonic Orchestra, Katerina Ismailova in Lady Macbeth of Mtsensk at Greek National Opera.

UPCOMING PERFORMANCES

Debuts at Metropolitan Opera New York and Ópera Nacional de Chile, along with performances at Helikon Opera Moscow; roles include Emilia Marty in The Makropulos Affair, Madame Lidoine in Dialogues des Carmélites, Katerina Ismailova in Lady Macbeth of Mtsensk, Lisa in Pique Dame, Renata in The Fiery Angel.

OTHER ENGAGEMENTS

Svetlana's international career started in 2006 with her triumphal debut as Renata in The Fiery Angel by Prokofiev at La Monnaie Brussels. Since then Renata has become a signature Role of Ms Sozdateleva. She has sung it at Bayerische Staatsoper Munich, Komische Oper Berlin, Deutsche Oper am Rhein Düsseldorf, Scottish Opera Glasgow.

Other engagements of Ms Sozdateleva include Abigaille in Verdi’s Nabucco at the Mariinsky Theatre; the title role in Puccini’s Tosca at Latvian National Opera Riga; Katerina Izmailova in Lady Macbeth of Mtsensk by Shostakovich at Deutsche Oper Berlin, Den Norske Opera Oslo, Finnish National Opera Helsinki, Stadttheater Klagenfurt.

Svetlana Sozdateleva appeared at Glyndebourne festival as Lady Macbeth in Verdi’s Macbeth and Kostelnička in Janáček's Jenůfa.

As a leading soloist of the Moscow Helikon Opera she has sung roles such as Katerina Izmailova in Lady Macbeth of Mtsensk, Emilia Marty in Věc Makropulos, Madame Lidoine in Dialogues des carmélites, Liza in The Queen of Spades, Maria in Mazeppa, Dvořák’s Rusalka, Stefanie in Giordano’s Siberia.

Svetlana Sozdateleva has collaborated with the Russian National Orchestra. She sang Sieglinda in Wagner’s Die Walküre and Soprano solo in Shostakovich’s Symphony № 14.

The impressive Russian soprano Svetlana Sozdateleva, the Lady Macbeth of the title, created a compelling Katerina Ismailova, full of passion and urges, ready to do everything -even murder- and to accept the consequences, to free herself and live love. Following her movement and listening to her robust, shinning voice, we felt her inner struggle, the boredom next to her boring husband, the hatred for the tyrannous lustful father-in-law, the desire and jealousy for Sergei. She became the anti-hero that forces you to like her, even to give reason to her actions, exactly like Shostakovich would have liked.

- Kleine Zeitung

Scottish Opera - The Fiery Angel - Renata, December 2017

Especially remarkable was Renata, played by Svetlana Sozdateleva: her dramatic performance dragged me with her through her deeply confused and desperate quest for purity. She managed to capture the multitude of emotional states that violently swept through her character, going from enamoured to despairing or lucid to raving within a few seconds.

In its central roles, however, The Fiery Angel is perilously demanding, and Scottish Opera had wisely drafted in a clutch of Slavic professionals. Svetlana Sozdateleva was astonishingly good in the gruelling central role of Renata, in what’s effectively a succession of mad scenes. But she conveyed brilliantly the character’s obsession and madness, as well as her vulnerability and even a sense of ecstatic martyrdom as she’s sentenced to burn at the stake.

The central role of Renata – on stage and in full voice for the duration of the piece – was sung by soprano Svetlana Sozdateleva, whose specialism in the demanding role has taken her across the opera houses of Germany and to North and South America.

“as Renata, Svetlana Sozdateleva marshaled an array of colors, her soprano warm and elegantly contoured whenever she reminisced about the angel, shrill and cutting when her hysteria reached fever pitch. “